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Re: [AandS50ChallengeCommunity] top talent or perfection required?

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  • Ted Eisenstein
    ... Heh. You should see the not-good parts of my collection - the remnants of Hebrew texts converted to book covers, the Pontifical with numerous additions,
    Message 1 of 4 , Aug 13, 2013
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      > I've always thought that we tend to over-rate perfection in our practice of the arts. We should
      > bear in mind that the things that have survived are generally the top end of the bell curve --
      > they have survived precisely because they were the best of the best and people saw fit to
      > honour them by preserving them. Fair enough.

      Heh. You should see the not-good parts of my collection - the remnants
      of Hebrew texts converted to book covers, the Pontifical with numerous
      additions, emendations, deletions, and x'd-out sections in the first
      60 pages (not to mention the total lack of capitals; they got the text
      completed but never got around to illuminating anything), the pages of
      vellum with holes that were written around and one page with a rip that
      was literally sewn together.....And the household accounts both regular
      and royal, the letters, the petitions, the end papers used as scratch
      pads.

      All are valuable in that they teach us how Them There Old People wrote,
      and what they wrote about, but perfect? Nope.


      Alban
    • Nancy McKay
      ... I just heard the most brilliant of statements at Pennsic - Practice makes progress! It really puts the focus of my own meager efforts into the proper
      Message 2 of 4 , Aug 14, 2013
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        On 8/13/2013 10:23 PM, Susan wrote:
        >
        > This needs a gigantic "LIKE" button!
        >
        > Albreda the Unperfect!
        >
        > On Aug 13, 2013, at 8:32 PM, "katherine kerr" <vicki@...
        > <mailto:vicki%40webcentre.co.nz>> wrote:
        >
        > > > Sidney:
        > >
        > > > As an artist I am always telling people that "talent" is overrated.
        > > > It's just a starting point. It's the love of the art, whatever art it
        > > > is, which inspires artists to practice their art. Love of the art
        > > > makes it a joy, so we don't think of it as work. When you find an art
        > > > that you love (all things creative are art to me, not just painting or
        > > > drawing), practice and continual learning is what propels you to
        > > > achieve wonderful things. And no matter how good you get, it is never
        > > > perfect because there is always something more to learn and try.
        > >
        > > I've always thought that we tend to over-rate perfection in our
        > practice of the arts. We should
        > > bear in mind that the things that have survived are generally the
        > top end of the bell curve --
        > > they have survived precisely because they were the best of the best
        > and people saw fit to
        > > honour them by preserving them. Fair enough.
        > >
        > > But we're being a tad anal retentive in thinking that all blackwork
        > has to be reversible on
        > > 36-count linen, and killing our eyes to make it so. I was delighted
        > to see an example in the
        > > V&A of some rough-as-guts blackwork, the equivalent of using perle
        > cotton on 14-count Aida
        > > (which is what I used for my kid's cuffs, boy could you scrub it
        > when you needed to!). And
        > > loose gowns with panels of velvet pile going every which way.
        > >
        > > I tend to say these days that I don't do calligraphy, I do
        > handwriting. And I've got more than
        > > enough examples of uneven hands, sloping hands, smudged tear-stained
        > letters (Mary
        > > Queen of Scots produced lots of those), missives with cross-outs and
        > insertions etc in official
        > > correspondence that's been dashed off on a scrap of paper. One of
        > these days I may
        > > convince the Scribe's Guild that that is just as authentic as the
        > most perfect illuminated
        > > bastarda, but I'm not holding my breath....
        > >
        > > I was delighted to see the page in an early printed book which had
        > the clear imprint of a piece
        > > of type that had fallen out during the process and embedded in on
        > the page. Or, even better,
        > > the cat pawprints across one page, made on the day of printing 500
        > years ago. Lovely! So if a
        > > paper jam skews some of my chapbook pages on printout, I'm happy to
        > use them. My
        > > counterparts in the 1550s would have, and I've got the slack
        > examples to prove it. I've been
        > > known to deliberately skew woodcut graphics and spot-colour fills
        > just a tad to match the
        > > mis-registration you see in some texts. It may not be perfect, but
        > it's period.
        > >
        > > On the odd occasion when people ask me what my Laureldom was in, I
        > say "I'm a Laurel of
        > > the mediocre, and proud of it!" :-)
        > >
        > > Cheers,
        > > katherine
        > > =====================================
        > > katherine kerr of the Hermitage, in the Crescent Isles,
        > > Barony of Southron Gaard, Kingdom of Lochac
        > > http://webcentre.co.nz/kk
        > >
        > >
        >
        > [Non-text portions of this message have been removed]
        >
        >
        I just heard the most brilliant of statements at Pennsic - Practice
        makes progress!

        It really puts the focus of my own meager efforts into the proper
        perspective.


        Nadyezhda the Simple


        [Non-text portions of this message have been removed]
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